Art History

The course introduces students to a range of contemporary critical theories and debates on the body and identity. Students explore the body as a site on which social constructions of difference are inscribed, as well as how these constructions can be challenged and resisted. Bodies are regulated and self-regulated, marginalized, oppressed, erased, owned, visualized, textualized, and designed. The body is not isolated; rather, it extends and connects with other bodies, practices, human and non-human entities, and technologies. The course also examines the ways in which digital developments are reshaping our understanding of our bodies and question what it means to be human.

This course provides an introduction to iconography and iconology and considers the power of the symbol. It covers the foundations of aesthetics and philosophy of the image, hermeneutic methods, and analysis of images and artistic languages. The course discusses the creation, revolution, and destruction of images between East and West; iconological schools; and literal iconoclasms. Finally, it examines the origins of medieval aesthetics to the invention of art in modernity, considering subliminal, ancient, and contemporary iconoclasms.

This course offers a study of visual cultures and the theoretical insights garnered by the study of this interdisciplinary field. The course provides an introduction to the field of visual culture and explores topics including vision, visuality, and image in conjunction with varying conceptualizations of culture. Each subsequent unit deals with a “site” of visual culture that offers an object of study, a theoretical problem, and an interdisciplinary opportunity. Visual cultures from high to low are studied along with an examination of how these forms are quickly transforming and breaking barriers of category and genre. The principal sites of inquiry traverse fashion, gaming, museum exhibitions, medical imaging, comics, and cinema. This course requires that students have completed a course in the humanities as a prerequisite.

This course analyzes artistic heritage as a material manifestation of societal memory. It explores the interdependence between artistic heritage and the context of its creation and appreciation. 

The course examines the development of art in Britain, and its struggle to assert itself in the wider international art world. Students take as a starting point the careers of four artists who are central to the canon of British art, and whose work still sparks debate. These case-studies vary from year to year. Previously, they have included William Hogarth, William Blake, J.M.W Turner, Walter Sickert, Vanessa Bell, Bridget Riley, Steve McQueen and Lubaina Himid. Possible examples are Lucian Freud, Tracey Emin, Grayson Perry, Pauline Boty and Olafur Eliasson. Building through the course is a larger discussion about the idea of a tradition of British art, and the value and stability of an artistic canon. Is there such a thing as tradition, and if so, what are its themes and preoccupations, and where might it be tending?

The 19th century saw the birth of many revolutionary artistic practices that transformed the visual culture of Europe. Industrialization, urbanization, and colonialism brought about a new social order, and artists responded by developing artistic styles that addressed society's modern values. This course explores artistic innovations in Britain and France including Impressionism, Pre-Raphalitism, and the invention of photography. By examining individual art objects and wider art historical themes, students see how new artistic styles responded to issues like class, gender, and race. This course makes use of the rich art collections on offer in London, with seminars taking place at Tate Britain and the National Gallery.

This course focuses on the state and evolution of photography in the wake of the second World War. It treats the following topics: humanist photography (1945-1968) and its origins; subjective photography in Europe and the United States (1950-1970); renewal of the American documentary after 1945; revival of the landscape in contemporary photography; photojournalism; contemporary photography and art from conceptual photography to visual photography; quotes, reinterpretations, and reappropriations of modern photography; experimental photography; and post photography. 

This course is part of the Laurea Magistrale degree program and is intended for advanced level students. Enrolment is by permission of the instructor. This course will help students to develop a general vision of the relationships between Italian Literature and other Arts, from the nineteenth century to present, with a focus on painting. The course discusses the most relevant works of literature which interact with images and analyzes critical, theoretical, and literary texts regarding visual arts. In addition to the interactions between literature and the arts, the module introduces students to the following themes and areas for in-depth study: 1) the interaction between literature and the visual arts; 2) the issue of the gaze in literature; 3) iconology, the "visual turn" and the “pictorial turn;” and 4) literature and visual arts facing the crisis of modernity and postmodernity. In particular, the course delves into the intermedial influence of the visual arts (painting, illustration, and photography) and the reflection on the gaze in some works by Italo Calvino and Gianni Celati in the last decades of the 20th century.

Since the middle of the 19th century, realistic movements in the visual arts have claimed to show 'real life'. However, this is not about the deceptive illusion of a particularly natural representation, so that one could confuse the image with the model. Rather, a new understanding of the objects worthy of images and the political functions of art is emerging, which not only aims to provide information about reality, but also actively participates in it. The representation of 'real people' and social reality can coincide with the stylistic devices of factual documentaryism as well as with the melodrama and drastic nature of the description, the use of fantastic-magical elements or the artistic processing of everyday objects. The seminar examines and questions various varieties of this understanding of art (e.g. European realism in the 19th century, New Objectivity, Magical Realism, American Realism, Socialist Realism, Nouveau Réalisme, Capitalist Realism, New Leipzig School, Neo-Realism in China). with regard to continuities and changes in demands and means in the respective representation of 'reality'.

This course introduces students to the material and visual culture of the ancient world from the second millennium BC to late antiquity. Semester 1 focuses on the Greek world. Students will study the built environment - from the great urban monuments to everyday domestic units (including temples, "homes" for the gods). Students explore the art and iconography of the ancient world alongside the material residues of daily life and ritual. Students are introduced to the different perspectives and methods of both archaeologists and art historians in interpreting material remains and visual images. The course combines close study of individual pieces of evidence with an evaluation of how they illuminate the societies, cultures, institutions, and economies of classical antiquity. The course draws heavily from the extraordinary collections in London, particularly the British Museum.